The Path Of The Omega Point: The novel that foretold the destruction of Mexico... and the world

By Luis Berman

The story is set in a near future where reality and fantasy coexist. The consequences of poor decisions made by humanity, society, and individuals have taken a toll. Pre-Hispanic and European mythology converge in this tale. It follows the journey of a hero, a warrior, as they navigate the battle between Light and Darkness across di erent altern

• Language: English
• Publisher: ibukku, LLC
• Release date: Dec 31, 2023
• ISBN: 9781685745820

Book preview

The_Path_to_the_Omega_port_ebook.jpg

THE PATH TO THE OMEGA POINT

The novel that foretold the destruction of Mexico... and the world

LUIS BERMAN

All rights reserved. The total or partial reproduction of this work is not allowed, nor its incorporation into a computer system, or its transmission in any form or by any means (electronic, mechanical, photocopying, recording, or otherwise) without the prior written permission of the copyright holder is a violation of these rights and may constitute a crime against intellectual property

The content of this work is the responsibility of the author and does not necessarily reflect the views of the publishing house. All texts and images were provided by the author, who is solely responsible for their rights.

Published by Ibukku, LLC

www.ibukku.com

Cover Design: Ángel Flores Guerra Bistrain

Graphic Design: Diana Patricia González Juárez

Copyright © 2023 Luis Berman

ISBN Paperback: 978-1-68574-581-3

ISBN Hardcover: 978-1-68574-583-7

ISBN eBook: 978-1-68574-582-0

INDEX

PROLOGUE

I DEDICATE THIS WORK...

ALPHA

RADIOGRAPH OF THE FUTURE

THE SEED OF DESTINY

TRACING THE PATH

ARRIVING AT THE WORLD’S NAVEL

FLICKERS OF FATE

THE DARKEST NIGHT

LIGHT, MORE LIGHT

THE CHOSEN ONE’S JOURNEY

DARKNESS MANIFESTS

I AM

THE DEMONIC PROTECTORS

THE CITY WHERE MEN BECOME GODS

ALL OR NOTHING

THE ASTRONAUT

GIVE UNTIL IT HURTS TO GIVE

OMEGA

OUROBOROS

SUPPLEMENT

PROLOGUE

I would like to begin by introducing myself to you, dear reader. My name is Luis Berman. I was born in the chaotic, polluted, and perpetually crisis-ridden Mexico City. I graduated with a degree in Communication Sciences, specializing in Cinematography. I’ve worked as a creative director in advertising, a filmmaker, an editorialist, and a consultant in political communication.

I have always lived in Mexico City, except for a time when I resided in the beautiful yet demanding city of Toronto, Canada, and a few months while I was studying filmmaking in Havana, Cuba. Lastly, I live, breathe, and exude rock & roll, not just as a musical genre but as a way of life.

By no means do I intend to portray myself as a writer, novelist, or the like, professions I deeply respect and admire. I simply found the opportunity to share this story that for several years had been stored as a film script, waiting to be produced and eventually displayed on movie marquees. However, after a few disappointments, I gave up. Yet I remained convinced that this was a story that had to be told, regardless of the medium.

Having said that, esteemed reader, you now have a general idea of who I am and what my intentions are with this text.

On another note, delving into the main subject of this prologue, I would like to start by explaining, in broad terms, the reasons that inspired this work and the elements surrounding the present story.

I’ve always been drawn to mystical and mythical subjects. Our Mexican culture is steeped in them. But, in particular, I’ve always been intrigued by history, not just of Mexico, but globally. After all, what we are today is the result of what we were in the past. This is why I’m interested in the Aztec and Maya civilizations, respectively. They are the roots of what Mexico is today, culturally speaking. At the same time, I’m deeply attracted to historical events that took place around the world: Egypt with its pyramids, beliefs, and symbolism; ancient Rome and its influence on historical and political events that shaped civilization, as well as the Bible and the Catholic religion as we know it today; the conquest of Mexico and other Latin American countries; the Native American cultures before the 13 colonies; World War II and all its participants, and so on.

This story began to be written around 2006. Let’s say its essence always remained the same; however, over time and with my experience, it morphed and adapted to my mindset and what I began to understand intellectually, culturally, mystically, esoterically, and spiritually. There was a moment, between 2012 and 2014, when my life took a drastic turn, and the upheaval was devastating. Perhaps the turning point was my marital separation. I found myself in a personal crisis on all fronts: existential, emotional, creative, and professional. Adrift in limbo, I sought and found, asked, and was given. I discovered a new world, opened my eyes, and saw the light. I began to uncover things that had always been there; I just hadn’t paid attention. I delved into the mystical world that leads to inner peace, getting to know oneself. To create and share. Through this, I discovered Kabbalah, tarot, Gnosticism, and yes, dare I say, magic.

Nothing happens by coincidence. The great surprise was that what I had previously written almost entirely aligned with what I was learning.

Now, it was just a matter of putting it into practice and not letting it remain just knowledge. The only way out is inward.

When I began researching the topic and the idea for this story was just a series of isolated sketches in my mind, back in 2002, very few people, if any, knew or had heard about the B’AK’TUN and December 21 of the now distant 2012.

The B’AK’TUN is the longest unit of the Mayan calendrical system, known as the long count. It equals 144,000 days, approximately 394 years.

Just as the Gregorian calendar counts series of years known as lustrums, decades, centuries, and millennia, the Mayan calendar counted series of twenty years, each called a katún, and series of 20 katuns (400 tuns = 394.3 years), called baktún in Spanish.

According to this calendar, December 21, 2012, was the last day of the thirteenth baktún.

THE 13th B’AK’TUN CYCLE (1618-2012)

The year 2011/2012 of the Christian Roman era (5771/5772 of the Hebrew era) is a point on a chronological line that runs within the 13th baktún cycle of the 5th long count of the Mayan cycle, the last baktún of the current Long Count (5200 tuns = 5,125 years) of 13 baktuns.

A cycle that, according to Mayan prophecies, should serve as spiritual reflection, thus achieving transcendence to another dimension of peace, love, and justice. To begin a new cycle or the new dawn.

Now, the present story was going to revolve around this topic; however, time passed, and I discovered that the B’AK’TUN, as the end, was just the beginning; that the path was still much longer and that the spiritual evolution, not only of the human race but of our own planet, had to continue. So, I decided to delve deeper and weave together everything I already knew about it.

The result is a story set in a not-so-distant future where reality and fantasy intertwine; where the ravages of poor decisions as humanity, as society, and as individuals have taken their toll; where pre-Hispanic and European mythology find a point of convergence. It depicts the journey of a hero, a warrior. The battle between Light and Darkness, a fight where different alternate worlds are stacked on top of one another, where choices signify freedom. It questions political and religious discourses, aiming to invoke reflection through everyday phrases and elements. The setting is the year 2077, in a Mexico City in ruins. Elements of globalized pop culture are woven throughout. Characters from other worlds and dimensions coexist with real ones. Battles rage between gargoyles and angels, demons and shamans—shapeshifting nahuales who fight to the death. Prisoners from Mexican jails fight in the Mexico City Bullring, reminiscent of the Roman Coliseum. Car chases with shootouts and explosions unfold between rusted Ford Raptors and rebuilt Harley Davidsons on Avenida Insurgentes and Reforma, streets transformed into ruins by social movements, earthquakes, and pandemics. A war helicopter annihilates the Angel of Independence with a missile. There’s action, punches, and explosions. Our characters listen to Enrique Bunbury and Leonard Cohen on a holographic player while getting drunk, as well as the unmistakable tunes of Mick Jagger, Axl Rose, Steven Tyler, or Vince Neil, and the chords of Keith Richards, Slash, Joe Perry, and Mick Mars.

All these worlds and elements reflect various facets of human behavior, painting a clear picture: the world, in a political sense, is fading. Mexico has been ravaged by social movements and health plagues. The population has been halved. Mexico City lies in ruins, lawless and ungoverned. It’s no man’s land.

Ollín, our main character, leads a monotonous life. He plays the guitar at a local bar, El Mezcalero, alongside three friends: bassist Hamp (British), drummer Denis (French), and vocalist Aragón (Spanish). The band is named Calmecac.

Certainly, the day arrives when Ollín’s perspective is dramatically altered. Juan Huitze, a shaman, visits him at El Mezcalero and becomes his mentor, opening his eyes and mind to a parallel, mystical, and spiritual world.

We become witnesses to a series of confrontations, both physical and spiritual. These battles, set within high-octane action sequences, gargoyles against angels, as well as other mythological creatures manifested in our reality. Ollín embarks on a quest to find the tomb of friar Juan de Zumárraga. In his journey, he encounters Tezcatlipoca in the ruins of the main temple beneath Mexico City’s cathedral and meets Quetzalcóatl in Teotihuacán. He visits the tomb of Pacal in Palenque, and ultimately, he reaches Chichen Itzá, where he descends into the Underworld, or Xibalbá, alongside the twin gods Junajpú and Xbalanqué.

Simultaneously, Baoth’s court and his cursed angels are preparing for the advent of a hybrid being - half angel, half human. Their goal is to seize humanity’s energy and consciousness, plunging them into eternal darkness.

Ollín’s mission is monumental: he must guide humanity to transcend into a multidimensional level, where the ancient Maya phrase In Lak´Ech Hala Ken (I am you, and you are me) fully resonates. A galactic alignment provides the exact moment for the sacrifice to occur. Time is running out; the cycle must conclude. This cycle is The Path to the Omega Point, where everything and everyone will merge with universal consciousness.

Dear reader, I hope this prologue has piqued your curiosity, and you feel compelled to continue with the pages of this story.

Thank you for reading.

Luis Berman

Mexico City, 2023

I DEDICATE THIS WORK...

To the Great Architect of the Universe. For protecting me, guiding me, and providing me with light.

To my mother, Carmen. For always believing in me, for showing me the way, for letting me stumble, learn, and extending your hand to me regardless. For your unconditional love. I love you.

To my father, José Luis (Rest In Peace), for being my teacher and guiding with his own path, his words, and his great love. I love you.

To my brother, José Luis Berman (Wicho), for being my teacher, companion, and accomplice in battles. For his advice and patience. I love you.

To my sister, Denisse Berman, for letting me share her adolescence, which was also mine.

To my friends, who over time became my brothers: Luis Carrillo, Hugo Ángeles, Raúl Vargas, and to the one who quickly came to occupy a special place, Leo Méndez. I love you all.

To my aunt María de Jesús (Rest In Peace), my cousin Liz Rivero, and my goddaughter Andrea. I love you all.

To my spiritual siblings of Thought, Word, and Action. No. 281, for sharing your light and learning under your guidance. I love you all.

To my wife, Mauricia Ortega. Thank you for believing and trusting in me, for encouraging me to follow my magician’s path. I love you, Witch.

To my Dog, Bowie. I love you.

Endless thanks!

ALPHA

It’s an outdoor sunset. The sun slowly hides behind the mountains, darkening. The rays of the ruling star filter through the branches of the surrounding trees. Only dry land is visible, blending into the horizon. The mud from the earth is cracked due to dryness.

A rattlesnake, native to the environment, slithers and hides under a massive rock that dominates the place. The wind seems to sing, blowing rhythmically as it brushes the sparse vegetation of cacti and small bushes; it makes a constant noise that hypnotizes. There’s a noise that gradually makes its presence known: it is wood burning, and it becomes increasingly intense. It is a campfire.

The mountains shelter the last glimmers of light that filter through the dark clouds. The wood crackles as it is consumed by flames of fire that embrace it. Sparks fly, vanishing now in the darkness of the night, as they rise and meld with the stars that begin to peek through the clouds that slide across the purple sky. At the foot of the campfire, there’s a human skull. Prayers are heard in the voice of a single person in an indigenous language mixed with Spanish, harmonizing with the cadence of the wind.

A boy of about 10 years old is located right behind the flames of the campfire, staring straight ahead, his eyes hypnotized, following the dance of the fire tongues that rise. The boy wears a white cotton t-shirt, white canvas pants, and is barefoot. He’s light brown, with a very defined chin and cheekbones. His Native American racial heritage is immediately apparent; he has slightly long hair, tied with a black band that embraces his head.

His gaze remains fixed and attentive to the fire, almost without blinking. In front of him, a man with indigenous features. Unlike the boy, more Latin American features are noticeable in him. He sings a prayer. He is a shaman who smokes a pipe from which bird feathers and rattles hang. Every time he inhales the smoke, he looks to the sky and when he exhales, he blows it towards the boy.

He has a red band tied around his head, holding back his long, silver hair. The beard, of the same color, falls to the edge of his garments.

In his left hand, he holds a wooden staff from which also hang feathers and small tassels. On the grip part, it has a ram’s horn.

When he throws the smoke at the boy’s face, with the staff he makes circles above his head. He wears white canvas pants and shirt, and leather sandals. Many amulets hang around his neck, among which bird claws and feathers stand out. He wears bracelets on his wrists. Small tattoos can be seen on his chest and hands, made up of lines, dots, and glyphs.

From time to time, he takes a white liquid from a bottle and spits it into the fire, while continuing with the prayers.

He prays to the four elements, mixing his words, between the Nahuatl indigenous language and Spanish.

He begins with the prayer of the new fire, a ceremony conducted by the Anahuac peoples to synchronize their calendar with the movement of the heavens.